Le designer anglais Dominic Wilcox, dont nous avons déjà parlé, a récemment révélé lors du London Design Festival 2014, un concept futuriste : la Sleeper Car, une voiture automatisée faite en verre et pour dormir. Selon lui, les conduites automatiques seront tellement moins dangereuses que les voitures pourront toutes être en verre. A découvrir à travers des photos de Sylvain Deleu.
NEW YORK – Three of the world’s most respected creatives rejected the idea that algorithms and computers will ever replace people in the advertising industry, at Advertising Week in New York.
Depois de a Phillips viajar no tempo para mostrar como a tecnologia avançou ao ponto de hoje ser possível criar diferentes ambientes com uma única lâmpada, a General Eletric resolveu entrar com tudo no assunto e escolheu ninguém menos do que Jeff Goldblum para estrelar Enhance Your Lighting. O filme tem direção de Tim & Eric – ou melhor dizendo, Tim Heidecker e Eric Wareheim, com quem o ator já havia trabalhado no sofrível Tim and Eric’s Billion Dollar Movie.
Antes de mais nada, é impossível deixar de notar a semelhança de Goldblum – aqui no papel de uma celebridade falando sobre a importância da iluminação em sua carreira – com o mestre Cauby Peixoto. Em ritmo de infomercial, o filme usa e abusa do humor para apresentar a GE Link Connected LED, a lâmpada inteligente da GE, defendendo que o produto pode fazer a diferença não só na vida dos artistas, mas também das pessoas, digamos, comuns.
Vale lembrar que é mais um ótimo comercial da GE, fruto de sua parceria com a BBDO de Nova York. Só para recapitular, nos últimos meses foram três filmes incríveis, entre eles Childlike Imagination, Scary Ideas e The Boy Who Beeps. Quem sabe o que mais pode vir por aí?
Post originalmente publicado no Brainstorm #9
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When the U.S. was climbing out of the Great Recession, the prescient economist Nouriel Roubini wrote: “Nobody’s ever cut their way to prosperity.”
Of course, financial responsibility and efficiency are core to our business. But the increasing focus on treating media as a commodity threatens a big opportunity to transform the advertising media business into something more valuable and effective.
Historically, the industry has focused on delivery, accompanied by client directives to cut costs. But in our attention-starved world, “cutting costs” mostly leads to reduced effectiveness.
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Leo Burnett’s Peggy Walter may have one of the coolest titles in advertising: VP-celebrity services. But what does a VP-celebrity services do?
It is her job to keep tabs on celebrities via social and other media to get the right stars aligned with the right brands, as well as to negotiate and administer contracts with stars that work with Leo Burnett’s clients. It was Ms. Walter, for example, who identified Dean Winters as the perfect face for Allstate. And most recently she helped Kraft Foods hook up with Miranda Lambert, after it was brought to her attention that the singer is a fan of mixing vodka and Crystal Light. (Ms. Walter made it clear that Kraft prefers mixing it with water.)
A former talent agent who knows the Hollywood landscape arguably as well as TMZ, Ms. Walter talked to Ad Age about how social media has made her job easier (and harder). She also discussed how the notion of “celebrity” is changing in a YouTube world.
FMCG brands should avoid using technology for technology’s sake in a fast-changing world, according to Simon Miles, digital director at Coca-Cola Enterprises.
Marks & Spencer has developed three “adventurous” food films with popular bloggers to celebrate M&S ingredients as part of its ‘Adventures in Food’ campaign.
It’s the agency that’s known for Tony the Tiger, Toucan Sam and Mayhem — one that’s long been known as the mascot shop, one that crafted massive traditional creative campaigns for companies like Kellogg’s and McDonald’s.
And while Leo Burnett continues to have much of its revenue from big, traditional ad campaigns, it’s seeing serious growth potential in its Arc brand as the industry continues to see an uptick in client demand for new and innovative shopper and retail executions, along with mobile and data.
The Publicis Groupe network is responding by expanding Arc’s footprint in all major markets, especially overseas, starting with the opening of four additional offices in India, Brazil, Mexico and Colombia by the end of the year — making a total of 29 of Leo Burnett’s 85 offices stocked with Arc talent and capabilities. The agency is also expanding its e-commerce footprint and expertise, forging a new relationship with Amazon.com to improve its clients’ marketing efforts within the Amazon platform.
Citizens Financial Group is unifying its brand as it begins to separate from the Royal Bank of Scotland, bringing its retail, consumer banking and consumer lending businesses under the Citizens name.
On the heels of last week’s IPO, Citizens is also gearing up to push its commercial brand, which has become the primary driver of revenue at the bank. The new campaign will call out the commercial business, now called Citizens Commercial Banking, as its own unit, while drawing on the strength of the Citizens’ name.
“We’re building capability beyond the retail bank,” said Arturo Perez, CMO for Citizens Financial Group, about the commercial brand. “We went from being a relatively minor player to being at the table and competing for deals or clients with any of the national and international banks.”
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The Grand Prix winning ‘Melbourne Remote Control Tourist’
See details of all the winners here.
This year’s awards have been given as follows:
Branded Content & Entertainment (sponsored by evidently) – 20 winners: 1 Grand Prix, 3 Gold, 5 Silver, 11 Bronze
Grand Prix: Clemenger BBDO Melbourne, Australia, ‘Melbourne Remote Control Tourist’, Tourism Victoria
Creative Effectiveness – 5 winners: 1 Grand Prix, 4 Creative Effectiveness Spikes
Grand Prix: Havas Media Sydney / One Green Bean Sydney, Australia, ‘How Doug Pitt’s Bro Helped Virgin Mobile Punch Above its Weight’, Virgin Mobile Australia
Design – 34 winners: 1 Grand Prix, 5 Gold, 10 Silver, 18 Bronze
Grand Prix: Dentsu Chubu Nagoya / Lens Associates Nagoya, Japan, ‘Mother Book’, Kishokai Medical Corporation
Digital – 29 winners: 1 Grand Prix, 3 Gold, 10 Silver, 15 Bronze
Grand Prix: Dentsu Tokyo, Japan, ‘Sound of Honda / Ayrton Senna 1989’, Honda Motor Co
Direct – 43 winners: 1 Grand Prix, 5 Gold, 17 Silver, 20 Bronze
Grand Prix: Clemenger BBDO Melbourne, Australia, ‘Melbourne Remote Control Tourist’, Tourism Victoria
Film (sponsored by Revolver Will O’Rourke) – 30 winners: 1 Grand Prix, 5 Gold, 8 Silver, 16 Bronze
Grand Prix: Dentsu Tokyo, Japan, ‘Sound of Honda / Ayrton Senna 1989’, Honda Motor Company
Film Craft (sponsored by sixtoes.tv) – 42 winners: 1 Grand Prix, 5 Gold, 19 Silver, 17 Bronze
Grand Prix: Ogilvy & Mather Singapore, ‘The Day I Visited my Son’, Unilever
Integrated – 6 winners: 1 Gold, 1 Silver, 4 Bronze
No Grand Prix Awarded
Media – 30 winners: 1 Grand Prix, 3 Gold, 11 Silver, 15 Bronze
Grand Prix: Ogilvyone Beijing, China, ‘Eyes on the Road’, Volkswagen
Mobile (sponsored by Vizeum) – 21 winners: 4 Gold, 7 Silver, 10 Bronze
No Grand Prix awarded
Outdoor – 47 winners: 1 Grand Prix, 6 Gold, 14 Silver, 26 Bronze
Grand Prix: Dentsu Tokyo, Japan, ‘Sound of Honda / Ayrton Senna 1989’, Honda Motor Co
PR – 28 winners: 1 Grand Prix, 5 Gold, 12 Silver, 10 Bronze
Grand Prix: Dentsu Y&R Tokyo, Japan, ‘Banana Trophy’, Dole Japan
Print – 20 winners: 1 Grand Prix, 3 Gold, 6 Silver, 10 Bronze
Grand Prix: Y&R Beijing, China, ‘Prometheus’, ‘Moby Dick’, ‘Don Quixote’, ‘D-Day’, Penguin China
Print & Poster Craft – 35 winners: 1 Gold, 13 Silver, 21 Bronze
No Grand Prix awarded
Promo & Activation – 48 winners: 1 Grand Prix, 4 Gold, 20 Silver, 23 Bronze
Grand Prix: Dentsu Tokyo, Japan, ‘Sound of Honda / Ayrton Senna 1989’, Honda Motor Co
Radio – 10 winners: 1 Grand Prix, 2 Gold, 2 Silver, 5 Bronze
Grand Prix: Colenso BBDO Auckland, Australia, ‘K9FM’,
2014 also saw the introduction of two new categories;
Healthcare – 22 winners: 4 Gold, 5 Silver, 13 Bronze
No Grand Prix awarded
Innovation (sponsored by Mindshare) – 2 winners: 2 Innovation Spikes
No Grand Prix awarded
The Network of the Year trophy, sponsored by Airbag Productions, was presented to BBDO, with DDB coming second followed by Dentsu in third.
Dentsu Tokyo were honoured with the Agency of the Year, sponsored by Airbag Productions. Runners up were DDB Group New Zealand, Auckland, coming in second place and Y&R Beijing in third.
The Independent Agency of the Year was taken by Fred & Farid, Shanghai with Lens Associates, Nagoya in second and The Monkeys, Sydney in third.
The Spikes Palm award, sponsored by Method Studios and given to the best Production Company, was awarded to Collider, Sydney. Exit Films, Melbourne came in second and Dentsu Creative X, Tokyo, third.
The Media Network of the Year trophy was given to PHD with OMD taking second place and in third, Starcom MediaVest Group.
During the awards, this year’s Advertiser of the Year Award, sponsored by Airbag Productions, was presented to The Coca-Cola Company – Asia Pacific. Peter Schelstraete, Group Marketing Director, Asia Pacific Group, was present to accept the trophy on behalf of the company.
Winners of the Young Spikes and student competitions were also announced at the awards. In the Young Spikes Integrated competition (sponsored by JWT), The Philippines took the gold medal and Indonesia won the Young Spikes Media competition, whilst South Korea took gold in the first Young Spikes Digital competition (sponsored by Innocean Worldwide). The winner in the Student Creative Award for Print (sponsored by Y&R) was Ravi Moorthy from Temasek Polytechnic, Singapore, fulfilling a brief from The Sovereign Art Foundation in Singapore.
Delegates were able to celebrate their achievements and the end of an action packed Spikes Asia at the After Party, which was sponsored by Leo Burnett and held at The Clifford Pier, Singapore.
Full details of all the winners, as well as photos and videos from the event, will be available to view on the website at www.spikes.asia.
The post Spikes Asia 2014 Winners appeared first on desicreative.
For a pure-play beauty marketer, L’Oral is plenty complex, carved into divisions for luxury brands such as Lancme, salon professional brands like Matrix, mass cosmetics, retail and more. Even its U.S. mass business is divided into divisions for L’Oral Paris and Maybelline-Garnier. Few executives and none of its agencies have duties spanning all the divides.
But then there’s Tag Creative, a low-profile New York-based shop that helps provide some of the cultural glue that keeps the far-flung company together. It’s a relationship that’s unique both within L’Oral and in the broader world of heavily siloed multibrand packaged-goods empires.
While its work often isn’t the final product consumers see, Tag (not to be confused with the London-based digital agency of the same name) has helped shape marketing for just about every L’Oral division over the past two decades.
The Boy Scouts of America’s first new marketing campaign in five years is targeting millennial parents with a message of fun and adventure this back-to-school season. The push encourages parents, who are balancing family and work, to help kids enjoy being kids.
“Our program makes the most of the limited time that parents have,” said Stephen Medlicott, national marketing group director at the Boy Scouts of America. “We offer them so many opportunities for their sons to learn new skills, and for their sons to learn leadership.”
The new strategy comes after years of declining membership and bad publicity over the organization’s ban on openly gay adult leaders. The organizaton’s youth membership dropped 5.85% to 2,612,955 last year, from 2,658,794 in 2012, according to annual reports.
Après sa collection de vêtements pour Lulu & Co, l’artiste et designer américain Chad Wys revient avec une série personnelle appelée « Design And Feeling ». Abstraite et s’inspirant une nouvelle fois de peintures classiques, ses oeuvres regroupent des tableaux et sculptures agrémentés de coups de pinceaux colorés et d’échantillons de pantone.
The problem with all prisons worldwide is overcrowding.
Sky has invested $5 million (£3.1 million) in the native advertising technology company Sharethrough.
Broadcast TV is gradually winning its fight to get paid for commercials seen as long as a week after they air, up from three days. But the victory may be of the Pyrrhic variety as long as the networks continue to lose ground in a separate, harder battle — the one being waged against the DVR.
Advocates of extended commercial ratings, the most vocal of which is CBS, believe that counting four more days of time-shifted viewing will go a long way toward reversing a steady ratings depletion, not to mention compensate networks more fairly for the audiences they deliver. CBS Corp. CEO Les Moonves has even argued that replacing the current three-day standard, called C3, with a weeklong C7 isn’t enough. Why not C30 or more?
“We will get paid from people who watch our shows 22 days from now,” Mr. Moonves predicted in December. In August, he ventured that 75% of CBS’s transactions in next summer’s upfront marketplace will use the newer currency.
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